Just in passing I like RP's
historical narrative approach.
Not exact matches
the negation of ideology, the political secularization of the doctrine of original sin, the cautious sentiment tempered by prudence, the product of organic, local human organization observing and reforming its customs, the distaste for a priori principle disassociated from
historical experience, the partaking of the mysteries of free will, divine guidance, and human agency by existing in but not of the confusions of modern society, no framework of action, no tenet, no theory, and no article of faith, a distrust of the systems and processes of the idol of self and of the lust for power and status, scorn to all
approaches of ideology and meta -
narrative.
Crane's concept of plot seems to be a useful way to
approach the temporal composition of
historical events and of their
narrative analogues.
This
approach assumes that
narrative accounts form analogues to the composition of
historical events and that the dynamics of
narrative are expressed in events as symbolic transformations, emerging in temporal patterns, and resulting in definite configurations that can be analyzed at several levels of abstraction.
Its primary purpose, however, is to provide the historian with a critical
approach to the analysis and construction of intelligible
historical narratives.
«One of the issues that came up frequently in the comments was the goal of the production was to remain faithful, or at least as faithful as possible, to the
narrative and text of the Bible, as opposed to a
historical critical
approach,» he said.
His discussion is such as thoroughly to discredit both the supernaturalistic
approach to the gospel
narratives, i.e. the understanding of them as
historical as they stand, and the rationalistic
approach, i.e. the understanding of them as
historical after the miraculous element in them has been explained away.
If we give literal,
historical credence to the
narratives of Israel's
approach to the land, we can only wonder whether the present sequence is not disordered, with the conquest of Ammon to the north of Moab, and still further north, Bashan (vv.
Otero's «deformation»
approach to painting his works, first across glass and then once dry, flaying the dried paint and reconstructing the composition anew across large canvasses, is representative of how the artist perceives the process of reconfiguring both personal and
historical narratives.
Ventura has developed his own inventive
approach to
narrative, blending two forms of storytelling — one inspired by
historical events and the other entirely fictive — with a creative technical
approach that has earned him widespread recognition.
Through performance, video, and installation, Bambitchell (Sharlene Bamboat and Alexis Mitchell) has developed an expansive research practice working with national archives and
historical narratives, informing the duo's rigorous yet playful
approach to querying power.
This footnoted
approach fits all too well within the
historical narrative that MoMA, despite its best efforts, has never been quite able to shake: that after representation was subsumed into abstraction, and abstraction was reduced to Minimalism, painting could only repeat itself.
In keeping with his signature
approach, Marshall has painted his figures in strikingly opaque black pigments, both fashioning and abstracting their presences in order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art -
historical narratives written from a white, Western perspective.
«He mixes the personal and subjective with larger
historical narratives using a very idiosyncratic, often surreal
approach.»
The projects presented in this exhibition will display the range of
approaches she has taken to subject matter,
historical narrative, artistic media and technique, and the complexities and ambiguities of racial and
historical representation.
The first North American retrospective of Durham's work, At the Center of the World traces his remarkable attentiveness to materials and characteristic
approach to assemblage while demonstrating his commitment to shedding light on the complexities of
historical narratives, notions of authenticity, and the borders and boundaries that try to contain us.